Self-Choreography, a work in progress

A documentation of my ongoing solo choreographic practice

These series of photos document my solo choreographic practice which began in Summer 2020. Using a camera to capture my movement and the general practice space, my aim is to track my practice through the external witness of the camera as both a means of documenting and reflecting on that practice.

August 2020

6th August 2020, CAP expanded form practice with tape lines on the ground.

13th August 2020, CAP ground form practice

September 2020

17th September 2020

22nd September 2020. I surprise myself by ‘getting somewhere’ and finding a ‘nugget’ that leads me to think about how I must expand my documentation.

28th September 2020. The weather turns cooler and I find it harder to move, drawn back to the page constantly, but erratically, trying to find my concentration.

October 2020

CAP – Ground Form practice 1st October 2020. Mostly out of frame since I set up my camera too high to capture the ground. But my writing here shows me trying to work out what I’m doing with CAP. At one point I write that I am ‘dangerously close to nothing’, feeling that I am just passing time. By the end I describe a feeling of ‘un-choreographing’, ‘not making decisions, but attending to what’s there.’

CAP – Ground Form practice 5th October 2020, working with a migraine, both my drawings and movement reflect my obsession with the scratchiness on one side of my head. I’m curiously attached to representing my movement on the page, rather than letting the movement come to the page.

October 2020

Working with Rosalind Crisp on 26th October 2020, see blog post here

November 2020

CAP Ground Form – My intention was to document CAP as a practice, the aim was to remain as faithful as possible to the aims / structure of the ground form and to allow the process to work through my moving, attending, writing and mark making.

January 2021 – February 2021

After several weeks of working with Rosalind Crisp, I opened up my practice to a small invited online audience, with 4 x 5 minutes performances documented here.

April – May 2021

In April 2021 I began working with the UK based dance maker Amy Voris, devising material over a long period of successive improvisations through which material is harvested, revisited and deepened. The process is more akin to CAP in it’s use of language and drawing as part of the process of harvesting, and again, provides a useful means of tracking material from one week to the next.

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